STUDIO TOUR

Studio Tour Benchmark Studios

Tell us about the space - Benchmark Studios is 2500 sqft state of the art recording & music production studio which marries exceptional audio output with a truly immersive space to create benchmarks & push boundaries together.

Benchmark studios is –Studio A - our principal control room, capable of live recording, re-amping & is ground zero for all our mix and masters. Studio B - our second medium-sized control room great for music production, VO’s/dubbing etc. Vocal Booth – a complementary booth available for Studio A & Studio B for Dubbing, recording vocals, single acoustic instruments etc. Live Room - our 380 sqft acoustically treated live room is equipped to record string quartets, live drums, up to 15-piece choir and most importantly, we’re equipped to live record bands with up-to 6-7 members. The Live Room also doubles up as a rehearsal room for up to 9-10 members. We at Benchmark, in no way believe in all work and no play, which is why we’ve made pockets of entertainment and hang spots all around the studio to unwind and refresh between studio sessions. Amenities like - Free Wi-Fi, PS4 Play stations, the Bose listening den (connect your aux and press play!), a fully functional pantry and

an air-conditioned smoking room are available in our spacious lobby. P.S you may never want to leave!

Take us through the process of setting it up –Located in Thane, we noticed how centrally located artists and creators in Mumbai had a tough time finding premium recording quality and jam room facilities closer to home & that’s where we stepped in. Our core value has always been to be a one stop shop for everything audio! Next, we got on board acoustic consultant Rahul Samuel who worked in tandem with our interior designers to give us a studio space which will transport you both aurally & aesthetically! Co-founded by members of Paradigm Shift, a progressive rock act from Mumbai, we wanted the studio to be able to accommodate to indie bands & give them access to top notch recording and production facilities. Our multiple -room set-up is such that it can also host music video-shoots as well as listening sessions & intimate gigs!

What are some of the studio essentials you would recommend? Loads of coffee! Definitely invest in good preamps, DAC and monitors along with a proper HVAC system accompanied by great acoustic treatment.

What equipment do you use? We house a wide range of gear, each dedicated to a particular room.

In Studio A, we have 16 preamps out of which we have - 2 channels of Neve 8801, 2 Channels of SSL XLogic Alpha, 12 channels of Focusrite ISA 428 MKII, the UAD Apollo 16 MK II as our AtoD converter (essentially our sound card) and the Manley Elop Stereo Compressor. We also have the Fractal Axe FX XL II and a Kemper Profiler as our guitar processing units. We have the Focal SM9 as our main monitors. In Studio B, you will have access to the RME Fireface UFX- a 32 channel sound card, a TDK10 Roland E-kit to name a few. In the live room, we have Soundcraft SI Expression II as our mixing console used specifically for Rehearsals and Jam Recordings As for our drumkit which we use only for recordings – we have the revered 8-piece Pearl Reference Kit with a 5-piece Zildjian A Custom Cymbals. We also home to a wide range of mics, for recording instruments & vocals. For vocals we frequently use the AKG C414 or Neumann U87.

Pieces of gear you cannot live without NOT fair but our top picks would be the Neve 8801, the SSL XLogic Alpha, the Axe FX, our Focal SM9 monitors, the Manley Elop Stereo Compressor, our Pearl Reference Kit, the Neumann U87, AKG C451b matched pair, and AKG C414 matched pair.

Describe your work day It’s not really possible to describe a typical work day. With the different kinds of artists & musicians coming in, every day is a new adventure! And since we’re a 24*7 studio, every day (or night) is different!

Philosophy or reasoning behind gear choices Our philosophy was very simple actually. Pick the gear that sounds the cleanest yet also holds true to the actual tone of the source instrument or voice.

What’s your next buy for the studio? That is going to be a very, very long list! But, in the near future we hope to get our hands on the Telefunken TF39!

Tips to aspiring owners of studios We could go on all day giving tips but most importantly, would like to stress on the fact - that no matter how difficult it gets with business (and it does get difficult) never give up or lose hope. The world needs more music! If you are good at what you do and have narrowed down on the right equipment for you, accompanied by appropriately treated rooms, then you will certainly find people coming back to you for the kind of service you provide. And that will stay unique to you and will help you make your mark.

Sennheiser Evolution 900 Series Microphone: Designed for Musicians with best set of microphones Drummer can imagine

Sennheiser has the right microphone for everyone in Evolution Wired Microphone line - the 900 Series. The evolution wired 900 series: conceived of as a harmonically calibrated family, these high-end microphones combine demanding sound with unmatched reliability. Uncompromising stage equipment for uncompromising professionals. The evolution wired mics simply evolve along any sound. All the microphones in this series have in common is impressive sound, a clear focus on the job at hand and extreme ruggedness. These mics have been created in the best tradition of German engineering and are the result of the dedication of our engineers, of countless tests, and of the most meticulous manufacturing processes.

All 900 Series microphones are designed to offer transparent sound, be insensitive to handling noise, and feature excellent transient response and feedback rejection. Tight and uniform polar patterns, tighter manufacturing tolerances and gold XLR pins are common to the entire line. Targeted to professional musicians, PA rental companies and rehearsal studios, the 900 Series is optimized for all measurable parameters. While there are microphones for every professional in Evolution 900 Series, we will focus on mics designed for drumkit

Sennheiser E901: The e 901 is a rugged boundary microphone that handles high sound pressure levels extraordinarily well. Tailored to give the kick drum a highly precise, very dry sound character, the e 901 makes every attack lightning fast and realistic. The integrated preamp and gold-plated XLR connector have proven themselves to be exceptionally practical on stage. With half-cardioid polar pattern, the 901 delivers faster transient response, does not require a stand, and comes with a non-skid pad and slots for permanent mounting.

convinces with firm, clearly defined bass sounds with a tight punch. The strongly contoured frequency response features a pronounced damping of the mid-range and an accentuated emphasis of the high-end and bass. It offers a clear, grainy sound with a full body and a precise kick that effortlessly asserts itself in a band context. The sound of the e 902 can be flexibly shaped by its positioning in the drum set: from warm and round to sharp and direct. The rugged housing meets the hardest of demands during live gigs. Evolution 902 offers higher resonant frequency (65Hz), a shock-mounted capsule with integrated clip mouth, and delivers more punch and tighter response of the lowest bass signals. Sennheiser E904: It’s consistent frequency response creates a sound that is as transparent as it is harmonic and that can be wonderfully shaped. It can be cleanly embedded in the drum mix thanks to its precise attacks and voluminous body. The set receives an extremely energetic and defined sound with this microphone. The e 904 reliably withstands even the hardest direct hits. The dynamic cardioid Evolution 904 drum instrument mic features a high mass metal chassis for greater stability with powerful, punchy sound characteristics suitable for a variety of musical styles. Thanks to its practical clip, it is child's play to attach to the rims of snares and tom-toms. And, with its compact form, it takes up a very small amount of space. Sennheiser E914: The e 914 is a condenser microphone of the superior class with a full-bodied sound and excellent dynamics. Its silky character, never headstrong, is developed from the gentle emphasis of the sophisticated treble. Its straightforward transient response accurately captures the temperament of each set, even at very high sound pressure levels. With its detailed resolution, the e 914 makes every live drum sound more refined. The capsule has extraordinary feedback resistance and can be individually adapted to various needs with three positions of bass roll-off/cut-off and pre-attenuation can be set.

While there are tons of variables (and fad trends) to taking your studio to the next level, the key is to figure out the weakest link in your studio and focus your attention there first. Once you solve that problem, you can then move on to the next weakest link, and so on. As you keep doing this, you’ll see where you can most dramatically improve things and eventually get to things that make a difference but may not be as dramatic as the earlier weak links you fix or improve. The mistake that most people make is focusing on the “fun” or “sexy” things first and then worrying about other stuff later — and that’s okay, but it may not be the best approach to making quick improvements in your studio. It all depends on what you want. With that being said, here are some tips for your studio but keep in mind that what you address first depends on where the weak link is in your chain.

The Room What you record or listen to in your studio is affected by the room. It’s the area where many studios are weakest but also the area where improvements can affect every aspect of the music you create. To take your room to the next level use complete room packages such as Auralex Roominators and Primacoustics London systems.

Mics Other than your room and your monitor system, your microphones also affect the front-end capture of audio for what you hear in your room. Get the best mics you can; having a few great mics is better than having a bunch of less stellar choices. To start with, get a great largediaphragm condenser and a great dynamic mic and then fill in your selection from there, depending on what you record.

Monitoring Like with the room and the mic, everything you hear with regards to the audio you record is affected by your monitor. Affordable monitors offer incredible quality at really good prices and stepping up the quality of your monitors will have a drastic effect on the quality of your productions. Cleaning up the monitor path with a pristine monitor controller can also make a big difference.

Alternative Monitoring Not only can you upgrade the quality of your monitors, consider adding a second or even third set of monitors and a great set of headphones. Each set of monitors and headphones has a sonic signature and a certain response. After listening on a variety of playback transducers, you’ll get a better overall picture of what your music sounds like and make it more “transportable” to consumer systems.

Preamps, Processing, Converters, and Audio Interface Once there is clarity in your room and you are capturing quality audio with your mics, look at upgrading your preamps, converters, audio interface, and other hardware processors. This might go higher up on your list if you’re looking for a specific color or response for your recording like a particular flavor from a preamp or compressor, for instance. Or if you’re looking for a much greater sound from your mics, then maybe you want a high-quality uncolored preamp or a better converter.

Cables There’s a simple philosophy on cables: buy the best that you can afford. By buying the best value cables, you eliminate most concerns about any impact the cabling may have on audio or data transfer. Inexpensive but good cables can work well for some time, but let’s face it, they have a higher tendency to degrade quickly. So instead, enjoy the peace of mind you get by going with great cables. It’s just one less thing to distract you from making music and enhancing creativity.

Tips to Take Your Studio to The Next Level

UNDERSTANDING MUSICAL PREDISPOSITION

THROUGH CONDITIONING, HABITUAL &

PREFRENCE MECHANISM IN BRAIN.

Key Words : Music Predispositions, cognitive response, Perceptive response, Motivational centers ,cognitive reserve written by Prof B.Sai Kiran Kumar Consultant neurofeedback trainer BCIA USA, Adithya Malluri Psychologist and certified Neurofeedback trainer Presidency college, Bangalore

The Permeation and processing of music in the human brain has always been a mystery because of the effect it produces. Musical predispositions have a significant role in elucidating these processes. Our affinity towards a particular sound is associated with repetitive sequences of a particular melody played, which conditions the brain to understand musical sequences of similar origin. This explains a reward based interest created towards a particular melody causing the listener to memorize and also reciprocate the sequence through mirror neuron related mechanism. The adult brain understands melodies and starts registering the sequences played in the form of a patterned architecture in the brain. The subsequent stimulation is the activation of motivational centers in the brain in creating cortical cells associated memory networks for a particular tune. Through consistent conditioning of these melodies, the listener’s ability to identify the finer details of the respective melody is alleviated thus creating recognition of any dissonance in the particular sequence played. This can be explained through jingles of advertisements when illustrated with different context equated with music. Some of the other important factors that help in the following process include recognition of pitch, contour of the sound, duration and interval processing. Musical predispositions determine the inclination of the listener to particular form of sound thereby creating neural network synchrony. When a synchrony associated with neural networks is created, the regulatory pathways of memory and reward networks are strengthened. In some situations, these reward mechanisms can enhance the cognitive reserve and help in coping stressful situations. Musical perception has a stronger coherence in improving the brain’s activity and hence metaphorically it is referred to as “auditory cheesecake experience” when a rewarding tone is played. 1. Merriam,A.P.(1964)TheAnthropologyofMusic. Evanston,Ill:NorthwesternUniversityPress. 2. Blacking,J.(1995)Music,Culture,andExperience. London:UniversityofChicagoPress. 3. Dowling,W.J.(1999) Thedevelopmentofmusicperceptionandcognition.InD. Deutsch(ed.) The Psychology of Music. San Diego, CA: Academic Press, pp. 603–25. 4. https://shapeamerica.tandfonline.com/doi/abs/10.1080/106 71315.1978.10615514#.Xl_HsKgzbzY – positive effect of music on physical performance 5. https://journals.sagepub.com/doi/ abs/10.1177/0305735605050650- postive effect of music at workplace

THE TWO GREATEST STUDIO CONSOLES AND THEIR IMPACT ON MUSIC

Although the first “ready-made” console manufacturers emerged in the 1960s, a studio’s console gave its rooms their own distinctive sound due to its unique circuitry and components.

Cher’s sixth album was recorded at Muscle Shoals, “Kodachrome,” the number two Billboard Hot 100 lead single from Paul Simon’s third solo album, 1973’s There Goes Rhymin’ Simon, were all cut there. And not to forgot, there was Lynyrd Skynyrd, who put Southern rock on the map with their platinum-selling 1977 breakout album Street Survivors.

Muscle Shoals Sound Studio: Universal Audio 610 When the Rolling Stones rolled into Muscle Shoals, Alabama, for three evening sessions in December at Muscle Shoals Sound Studios, the story of the “burlap palace” was barely up to the task. The recording studio, with its burlapcovered ceiling and acoustic-tile wall panels, had a 1-inch 8-track Scully tape machine, no outboard equipment, and a sonically excellent but basic Universal Audio 610 tube console. It had 10 inputs with simple fixed-frequency low- and high-shelving EQ. But that didn’t stop the Stones from making what would become timeless music. The Rolling Stones recorded three tracks at Muscle Shoals Sound: “You Gotta Move,” “Wild Horses,” and “Brown Sugar.” Released as the first single, the opening track, “Brown Sugar,” shot up to number one in the United States of America and number two in the UK. So what brought so many artists to this bare-bones recording studio tucked away on the Alabama/ Tennessee state line? It was the Muscle Shoals Rhythm Section, lovingly referred to as the Swampers, with a distinctive, organic sound and infectious grooves that drove hit records by Aretha Franklin, Otis Redding, Wilson Pickett, and other singers of that era. It was Jimmy Johnson (guitarist/engineer), Barry Beckett (keyboards), David Hood (bass), and Roger Hawkins (drums) that drew artists from far and wide to work in this tiny “burlap” studio at 3614 Jackson Highway. When they purchased the modest property with financial backing from Atlantic Records’ Jerry Wexler in early 1969, they never suspected they’d soon be hosting the Greatest Rock ’n’ Roll Band in the World.

After the Rolling Stones worked there, Muscle Shoals Sound Studios became THE recording destination for artists of all genres. But let’s not forget that before that, it was the Muscle Shoals Rhythm Section that attracted the attention of artists and producers. Abbey Road Studios: TG12345 In the 1960s, EMI Studios London had a staff of innovative technical engineers and racks of the best gear available at the time, much of it either designed from scratch or heavily modified by EMI technicians. The Beatles were the most famous beneficiaries of EMI’s technical prowess. In the beginning, they recorded on EMI REDD.37 valve consoles built by EMI Central Research Laboratories in the late 1950s, although the updated REDD.51 captured their 60s creativity even better. Other musicians whose music was shaped by Abbey Road’s TG consoles include a veritable who’s who list of rock royalty: Sir Paul McCartney, John Lennon, George Harrison, Ringo Starr, Wings, Pink Floyd, the Hollies, Al Stewart, the Shadows, the Raspberries, the Buzzcocks, XTC, and more. Abbey Road’s increasing success with record projects overshadowed the fact that their Studio One was the world’s largest purpose-built recording studio and had been hosting full symphony orchestras since the 1930s.

During the mid-’70s, the studio was moving away from large orchestra recordings and by 1979, management was considering a plan to break up Studio One, which would give them another smaller “rock” studio, as well as expanded parking. Then fate intervened. A company called Anvil Post Production approached them with a partnership deal that would make Abbey Road a major player in the film scoring business.

PRO-AUDIO AUDIO AT IT’S BEST!

Shadow Hills Mastering Com-pressor Class A TRULY CLASS A! The shadow hills mastering compressor class a limited edition is one of the most exclusive and powerful compressors ever built. vintage king released the class in 2012, limiting production to on-ly 50 units. This very expensive and high-end compressor sits very nicely in some of the best mastering houses in the world. The Brainwork plugin could be the closest we can get to this beautiful piece. The plugin models the limited edition piece quite faithfully down to the updated Class A discrete compressor section utilizing Lundahl input transformers as well as the hand-wired Mogami Cable. The plugin features all of the same controls as the original hardware including the control to choose between different transformers for different colors. This makes this quite versatile. The compression is

extremely smooth and transparent. It delivers a thicker and richer tone to whatever is running through it. Among the controls, Brainworx included its wellknown retractable Extra Unit. The BX Extra Unit provides the following features: Brainworx´s TMT (patent pending Tolerance Modeling Technolo-gy), MS - processing, Mono-Maker, Stereo Width, Parallel Mix, Sidechain Filter continuously vari-able 12 dB per octave high pass filter and a Headroom parameter. Visually, this version can also be distinguished by red LEDs on the front panel versus the green ones found on the Shadow Hills Mastering Compressor. GREEN for the Drum Buss - RED for the Master. All in all its a great plugin to have and is surprisingly very noticeable different than the normal edi-tion of the Shadow Hills compressor. It has its character and adds a very distinct punch to mixes. It works well for electronic music to give it some overall character and vibe.

PULSAR SMASHER CALL OF THE RAW AND GRITTY SOUNDS! Pulsar is a new kid on the audio plugin market. They have one other plugin which is the Mu com-pressor and we reviewed that one very shortly before. It's one of our absolute favorites. The smasher is their new offering and is free for a limited period!! It's a custom modification of the 1176 compressor circuit, a twist on the famous all buttons in mode. It can add thickness and grit to any drum or bass track, or completely crush a bus, producing an aggressive sound It is is very easy to use the plug-in with an input, output and mix knob. That's it! The compression style can only be described in one word - Aggressive. They say the modeling technology guaran-tees a perfect emulation of the original device’s behavior. From the saturation of the magnetic flux in the inductors to the precise response of the transistors, to the effects of tiny calibration de-fects, everything is perfectly reproduced. While we don't have a real 1176 to test it out, it does sound amazing for what it does. It's ideal for raising the level of ambiances in a drum bus, but al-so for adding presence to vocals or warming up guitars or basses. It does not treat vocals with too much love unless your intent is some extreme leveling/parallel saturation. The Mix knob of the Smasher allows precise adjustment of how much thickness you want to add to your sound. Pulsar Smasher consumes as few system resources as possible – despite the complex algo-rithms at work. Smasher takes full advantage of modern CPUs to do more with less. But if your computer can stand it and you enjoy making it suffer, you can always turn oversampling on, pro-cessing at rates up to 384kHz! Its a really fun bit of kit to have and its currently free! Grab is ASAP!

Slate Digital Infinity EQ Plug-in ONE STOP SHOP! Another tool in the arsenal of slate digital! It's a 24-band graphical EQ aims at the modern engi-neer who wants to work fast and get great results. It claims to be optimized for mouse control and touchscreen surfaces, with compact control groups for the ultimate economy of motion. It looks fairly straightforward, although the interface looks slick and modern. Its control groups are truly unique. It allows you to chain multiple bands together and have them behave with each oth-er. This allows for quite a unique and interesting workflow and in some cases, allows for some pretty unique EQ moves. The EQ itself is extremely transparent no matter if you use it for subtle carving or dramatic tonal transformation. And, with continuously shapeable slopes, simultaneous cut and boost, and powerful Mid/Side and Left/Right processing, the Slate Digital Infinity EQ is extremely versatile. They stress a lot on the workflow of this EQ. Its intuitive interface is laid out to minimize mouse movements, with tight groupings for related functions and no rightclick drop-down menus. Dou-ble-click on any point to create one of up to 24 filter bands, and use the sliders that hover above or below the band to shape the slope and adjust the Q. For pinpoint listening, you can click the headphone icon to solo a band. And, the Infinity EQ lets you affect multiple bands simultaneously by selecting and linking band groups. Paired with automation, the tone-shaping possibilities of the Infinity EQ are endless. On the sound front - there’s zero-latency analog matching and it sounds good even as you push quite a bit with no brittle highs or flabby lows. They’ve included a slew of helpful presets to speed up your process and inspire creative tone-crafting. This EQ is quite interesting and we are quite intrigued to see how it fits within the workflow of dif-ferent engineers. Digital EQ’s are seen as a purely functional tool and its hard to switch from the ones that an engineer is truly used to. This plugin could very well take its spot, especially because it comes included if you already have the Slate All Access Pass. If you think about it, it's quite a sweet deal!.

AKSHAY AGRAWAL ALBUM ARTicle

Hello, a little bit about yourself and your background in arts and music? I am Akshay Agrawal and I am a Wonder Junkie! Amidst the engineering trauma, I became a self-taught designer! I started off doing UI/UX designs for projects, posters, illustrations and branding for college events like TEDx, pushing me out of my comfort zone every time. Also, the love for art, philosophy, and music has always intrigued me to imagine the meaning behind them, thus giving me opportunities to render my imaginative fantasies!

At this point in your career, what role did music have to play in you getting to where you are? Visual representation of music has always been part of my life directly and indirectly! My other passion, dance has always taught me how the music makes you feel, learning the right intention always helps you to deliver the right message. Music is an integral part of my work-life, as every project nudges me to hunt for the right playlist to set the mood. Music and Pop culture have always fascinated me, I always wanted to part of it and visual arts has helped me make my way into it.

Tell us about your collaboration with Kenji Distobot from conception to creation and the end product. Kenji is a good friend of mine and we have previously worked together on other projects. When he pitched me the concept, it was quite experimental than his other projects and he allowed me the liberty to experiment myself. The song Khoj is about a person’s introspection

of his own split nature. How he views the world in a negative way and motivates himself to look for the positive side. It was an attempt to spread awareness about self-care and mental health. The lyrics are very metaphorical and relatable to my own life on goings. I wanted to convey the same story in the art using similar metaphors. Darkness and Bright Sky representing integral part of life, Sun and Moon to describe beauty in both situations, Stars and Birds to represent opportunities and freedom, Dead and Blooming Flowers in the heart to represent one’s own grief and desires, and absence of stars in front of eyes to show that how a person becomes blind to opportunities and happiness because of selfdoubts! Bringing all this together to convey the meaning and exporting the last iteration at 4 am surprised me with output, thus ironically clearing my own self-doubts!

Tell us a little bit about the process that is involved in making a piece by Akshay. I always believe in investing the major time in researching and understanding the concept. Curiosity helps in boosting creativity. Without the research, anything remains meaningless. Once the idea is there, It just takes playing with tools to portray it.

Tell us about your art style and the concepts behind your artworks. Good storytelling always gets sold. I try implementing this with vector arts, typography, and minimal approach. Photography makes one relate to reality, and illustrations let them imagine, and I always aim for that.

GIG CALENDAR March 2020

New Delhi

Date Name Location

Mar 10th Rythem & Shashank

Mar 12th Frolic in the Forest The Pianoman Jazz Club, New Delhi

The Pianoman Jazz Club, New Delhi

Mar 13th Intimate | Lexer (Einmusika/Katermukke)

Mar 14th Wild City Presents: Various Artists w/ Perera Elsewhere & Versa

Mar 14th Karpatt Summer House Café, New Delhi

Auro, Delhi

The Pianoman Jazz Club, New Delhi

Mar 16th Sean Halls

Mar 21st Submarine in Space

Mar 25th Boxout Wednesdays #153 w/ Stalvart John & Farhan Rehman

Mar 26th Noontime Starling The Pianoman Jazz Club, New Delhi

The Pianoman Jazz Club, New Delhi

Summer House Café, New Delhi

The Pianoman Jazz Club, New Delhi

Mar 28th Ascension 002 feat. YANT + dotdat Auro, Delhi

Mar 31st Chezin The Pianoman Jazz Club, New Delhi

Bangalore

Date Name Location

Mar 8th Samar Mehdi // Guruub Tour // Bangalore

Mar 11th Wednesday Live ft. Alexis Kings

Mar 18th Home Brewed: Peepal Tree, Jatayu & Param Fandom, Bangalore

Hard Rock Café, Bangalore

Fandom, Bangalore

Mar 20th Bangalore Open Air 2020 Pre-Party Fandom, Bangalore

Mar 21st Madness JAMS: The F16s & Jbabe Fandom, Bangalore

Mar 22nd Sunday Unplugged ft. 24 Carat Hard Rock Café, Bangalore

Mumbai

Date Name Location

Mar 7th AntiSOCIAL presents Framed w/ Luuk Van Dijk, Blurry x Orbs

AntiSocial, Mumbai

Mar 8th International Women's Day Feat. WFM The Finch, Mumbai

Mar 13th Bebetta at antiSOCIAL Mumbai. In honor of women’s day!

AntiSocial, Mumbai

Mar 14th Krunk Presents: Teebs [US] & GiGi FM [UK] AntiSocial, Mumbai

Mar 18th Madness JAMS : Blackstratblues AntiSocial, Mumbai

Mar 28th Krunk Prsnts: Hotbox 13 ft Radio Slave (UK) AntiSocial, Mumbai

Pune, Kolkata, Gurugram

Date Name Location

Mar 8th Women's Day Special ft. Astrid & The Misfits

Hard Rock Café, Pune

Mar 13th Bhayanak Maut TopCat CCU

Mar 14th Saturday Live ft. Thermal and A Quarter Hard Rock Café, Gurugram

Mar 20th

The Tram Lines Project

TopCat CCU

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